This. If you have a key grip have enough put up a wall spreader to rig stuff from. If it’s no budget then rig your tubes up there any way you can. I’ve learned to hate them but when I’m desperate I go for adhesive zip tie holders . Honestly they either rip wall paper off or fall on actors but they’ll save you in a pinch. Paper tape works as a good temporary barn door if you can get a hold of an LCD. Small rooms are tough even with a budget! PM if you have any other questions - I’m a gaffer who’s had a set of Titans for a few years!

I work at a camera rental house. Rodrigo Prieto came in to test two arrays for the new Martin Scorsese movie, The Irishman.

Here is a link to some photos other photos (sorry for potato quality on other photos) - https://photos.google.com/share/AF1QipPhd-cHGQJEJQ0wBpugMaLKmoIs7-27oWKpmFiCiJDg6yHEnzaPYkoJo_rrhqTEXQ?key=ZnlZMzJVVHM4aXozNGxWMV9FaHZxSUZXZlhIVnVB

Probably a 10mm lens. I'm not sure if this was shot on S16mm then printed to 35mm, or acquired in 35mm. It's essentially any very wide rectilinear lens for your respective sensor/film format.

https://www.jukolart.us/narrative-film-technique/dialectical-cinematography.html

https://www.masterclass.com/articles/cinematography-techniques-from-spike-lees-do-the-right-thing#4-cinematography-techniques-from-do-the-right-thing

Good choice for a beginner! That prime lens is gonna be pretty limiting, though. You should invest in a nice zoom lens, like this one.

https://www.amazon.com/Canon-EF-S-18-55mm-3-5-5-6-Lens/dp/B004MKNBSW

You should get one with your walkie, I think they're just saying you look more professional, already owning your own.

On a similar note, buying one of these ear pieces can make a world of difference.

Download DaVinci Resolve for FREE! It has a great editing feature, the best color correction tools in the industry, and really amazing mastering features.

He teaches at USC and produced What Women Want, and consulted on films from what I hear from the producing faculty. He wrote a book on visual storytelling and his ideas in the book are the foundation for his class. It's not what's shown in video, those composition guidelines feel so laughably arbitrary. Bruce's idea was moreso here are all the elements at your disposal, pick a few and use them well—like for instance how The Shining is practically entirely shot with one point perspective right smack in the middle of the frame. I swear his class is the most debated class we've all had to take, but I think it's still valuable, and way more applicable than that video. Here's the book in case you wanna check it out. If it helps, woot! If you already known the stuff, wouldn't be surprised. It's just nice to have it all laid out.

https://www.amazon.com/dp/0240807790/ref=cm_sw_r_cp_apa_fabc_jDkUFbYGDMAXM

Here’s a good book for starters.

Not really, as to make up for the distance you'd really need a deeper lens, ~~but focal length has a huge impact on the difference in perspective between the foreground and background~~ [See comment below for correction] - this is most visible in 'dolly zoom' shots, popularised in Vertigo (and other Hitchcock films). Here are some examples. The other option is to zoom in on the more distant shot in edit, but for that to look ok you'll need to be filming at a high, high resolution, and even then the look might not match properly.

I've found that by creating a color pallet for whatever you're shooting makes a major difference. Separation of color is everything. Also, Vision Color is great. It's a plugin like Magic Lantern, but in my opinion its far better. They also make LUTs as well, and those really add to the "film look".

Here's some stuff I shot a few months ago with the Vision Color plugin on a 60D.

And this guy, Kendy, is the master of using this stuff.

I now own a BMPCC, but honestly I feel like /u/pvtfish. One day I just clicked with the camera too and now I feel like I can get good images out of it. If a style I were going for called for it, I wouldn't feel like I had to use the BMPCC because its considered a superior camera. I really wouldn't mind using the 60D.

I don’t know if this helps, but most of the beginning covers travelling mattes and dual exposures in Melies’ work and a hell of a lot more after that.

https://vimeo.com/70304814

I found it damn interesting, check it out.

There are couple sites like ccmixter.org that are just for sharing open source music. You can also search for "creative Commons" licensed music. There are several versions of the license that's explained here. https://creativecommons.org/licenses/

A RAW image is an image that has not been debayered. Most digital sensors have their photosites in a bayer pattern and a debayering algorithm is used to distribute the RGB values properly so that each pixel gets a value for all 3 channels.

When you shoot in typical video formats, the debayering is done by the camera at the time of recording, along with other processing like compression, yielding the video file.

When you shoot raw, the camera doesn't do any debayering, you get a raw file, and instead the debayering is done during playback on your computer.

Generally speaking, most video formats have some form of compression because an uncompressed signal yields huge file sizes. Shooting RAW avoids these higher levels of compression.

For more info, and a much clearer explanation, the white paper on ProRes RAW on Apple's website is pretty good. Read pages 3 through 5:

https://www.apple.com/final-cut-pro/docs/Apple_ProRes_RAW.pdf

> It would be such a waste of money to buy a non-Nikon camera and a bunch of lenses when I already have plenty!

That would depend entirely on what Nikon lenses you have and whether they're any good.

> I've heard there are such thing as adapters for different cameras, but I really don't know what to search

You need an F-mount to L-mount adapter, but you also need to make sure your Nikon lenses can be manually focused without electronic communication and power.

https://www.bhphotovideo.com/c/product/1569435-REG/metabones_mbnfg_l_bm1_nikon_g_lens_to.html

https://www.amazon.com/Fotasy-Mirrorless-Digital-Camera-Adapter/dp/B0113O93OA

Are the 8 monitors all supposed to show the same thing? If so, all you need is a single transmitter from the camera, a receiver, and a distribution amp. Feed the output from the camera into the transmitter, then the output from the receiver into the DA. You can either connect monitors to the DA with cables, or if there's a long run, use another transmitter/receiver combo.

Since you mentioned HDMI, here's a cheap 1x8 DA:

https://www.amazon.com/StarTech-com-60hz-HDMI-Splitter-Distribution/dp/B07C3X9YLP/ref=sr_1_8?dchild=1&keywords=hdmi+distribution+amp&qid=1611282998&sr=8-8

I like the zippered clear vinyl or mesh bags.

https://www.amazon.com/Vaultz-Storage-Assorted-Colors-VZ01211/dp/B001CDD0X8

https://www.amazon.com/16-Pack-Zipper-Holders-Multipurpose-Organizer/dp/B07P25PD3Z

Search zippered pencil bags and you'll see a bunch. Get a large keyring/carabener and get pouches with either 3 ring binder holes or clips like the link above. You can have a ring that can be thrown in your pelican and are easy to retrieve or hang.

Is it the Schneider True Streak Confetti filter? There aren't too many examples of images with that filter but the ones in the description of this listing match up pretty well.

https://www.amazon.com/dp/B07G2V98FD/ref=cm_sw_r_cp_apa_i_BOJgFbJ23RTNJ

I shot a vérité comedy documentary called Inside Jokes for Amazon with the Varicam LT recently. The first few weeks of the show were shot on Alexa Mini, but we just weren't getting a decent exposure in some of the dark night clubs and locations that we couldn't light. Dual native ISO was a game changer.

just read the comments on this video to understand peoples frustration. Funily enough I can't see the bands in the video, but its also bright in my room and reflecting on my monitor.

https://vimeo.com/89645784

Just playing devils advocate. Whilst I do have a shoulder rig I shot this entire video with just the camera in my hands. It allowed me to get closer to the action and shoot more inconspicuously.

Not everyone’s cup of tea but I think it worked well. As long as you focus on having a steady hand solely handheld does have a function I think.

Besides the video smokeydojo posted, this helped me ALOT with video (I learnt the basics of photography off it as well) https://vimeo.com/videoschool/lesson/174/do-more-with-your-dslr-i-working-with-available-light

watch the video. read the article if you want clarification

I DP'd an assignment for a friend of mine like this. Only his was for a directing workshop, and not cinematography.

You can use black space surprisingly well. Just have a few props and things in frame to sell your setting. We did a scene from the Departed set in a bar (you don't have to watch the whole thing, just skip around through it): https://vimeo.com/68813329

That was actually shot in the middle of one of our school's sound stages with flagged off light and black tarps.

Here's another assignment using a scene from the film Before Sunrise: https://vimeo.com/64364268

It's set in a park, and we shot the majority of it in someone's backyard.

Just thought I'd give you a couple of examples from my own experience to work from. You really don't need a whole lot to sell a setting. Remember: anything outside the frame does not exist, unless that existence is implied.

I think any old Noir film with heavy use of shadows will be really easy and fun to recreate...just remember to production design lol. Dark films might be the way to go... Godfather?

Post-production filters tend to give singular or fractional effects. They can be precise and targeted, but they also only do exactly what you tell them to. It is less risky to reserve in-camera-filter-like effects for post, but post is only as versatile as your imagination and only as powerful as your computer. Post also takes longer than doing effects in-camera, sometimes substantially longer.

In-camera filters are general or overall effects. They are implemented to have a particular purpose, but can have unexpected side-effects as well. It is more risky to use in-camera filters, and you have to be prepared to live with whatever you've done once you've finished shooting. In-camera filters are fast. Once you've got it, you've got it.

Here's an example from my own shooting. It's a magic portal.

https://vimeo.com/84863257

The yellow sparkle in the center was created using in-camera filters.

We shot at one frame per second while shining an iPhone flashlight at the lens (from about ten feet away) through two custom filters (http://imgur.com/MxAdmXZ) held next to the lens.

The advantage to doing it this way was a more organic, unpredictable effect, created faster than I could have in the computer.

I have the 14-140 (here it is mounted on my BMPCC) - but it is not very good in low light.

The 18-35 is much better in low light, but, with the BMPCC's ~3x crop, it needs a fairly expensive Speed Booster to give you anything wider than a 54mm equivalent at the wide end.

Best,

HCR

Submission statement: Cinematographer Style creates a collective narrative about the art and craft of filmmaking. The interviewees discuss their backgrounds, their dreams and struggles and, most importantly, the passion they have for their craft. In my opinion, it's probably one of the most important documentaries on the profession that has been made, and it includes thoughts from the leaders of the industry, some of whom have already passed away.

For those interested in watching it immediately, it's available to stream in a number of places online, this is the cheapest (that's not free) I've found: http://www.vudu.com/movies/#!content/201225/Cinematographer-Style

The striking thing about his look is the aggressive color grade. High saturation, and usually analogous color schemes. He's probably shooting on a high DR camera or film, but it's the grade that makes the look.

Long story short, don't worry about technicals until your storytelling becomes riveting..

1. story
2. editing - montage theory etc
3. directing - what the actor does, where the camera goes
4. lighting
5. camera stuff
6. everything else

PS also Neil Gaiman was amazing... https://www.masterclass.com/classes/neil-gaiman-teaches-the-art-of-storytelling

I went to a university and got a BA in Digital Media w/ emphasis in TV Production.

I do not feel that it was worth the money (probably the school of choice). There are so many online resources that you can sign up for now and learn a whole lot without going into debt.

This is one that my friend vouches for: https://www.masterclass.com/classes/werner-herzog-teaches-filmmaking

He works as a visual marketing coordinator for a small company and gets paid well (if that's what you're after).

I currently work for a large motion picture company but did not get my foot in the door with my degree. I knew someone working "on the inside."

I work in Print-Marketing. According to the Los Angeles cost of living standards, I make crap but this is the most I've personally made so far in my career.

I'm not sure there is a standard in Film & Television, in the same way Vectorworks is standard for Theatre / Concert lighting.

After a long search I settled on Omnigraffle. It's a diagraming program, but it has scale-accurate features, making it appropriate for professional lighting plots.

You can create stencil libraries of lighting fixtures. Measurements of your fixtures can be set, and when you drop them into your plot, the size will adjust to your working scale.

As a Rigging Gaffer, one thing I've found great is that I can draw in cable runs which helps estimate how much cable to order.

At $199 USD for the pro version, its far cheaper than Vectorworks and many other CAD programs, and the learning curve way less steep.

I'll do a full write-up post on it when I have some time.

http://imgur.com/a/pPza7

Thanks for making this, about to dive into Resolve soon!

Do you have a Pop Filter? Cuz it sounds like ya don't have a Pop Filter.

https://www.amazon.com/Microphone-Flexible-Gooseneck-Stabilizing-Earamble/dp/B06WVFRW4H

Yep, you could try something like this or something like this for different results.

Yes. Perfect. Put one of these with each lens. https://www.amazon.com/Dry-Premium-Packets-Desiccant-Dehumidifiers/dp/B00DYLR3Q6/ref=sr\_1\_4?dchild=1&keywords=silica+gel+packets&qid=1625446491&sr=8-4

I second Masterclass courses and LinkedIn learning classes if you have access.

And here's a classic book.

5 C's of Cinematography

Amazon Link:

Nite Ize GT3-4PK-31 Original Gear Rubber Twist Tie, 3" - 4-Pack, Bright Orange, 4 https://www.amazon.com/dp/B004Y46RD2/ref=cm_sw_r_cp_api_glt_fabc_AF8F60CGBAX7KNAXWYJT?psc=1

Bongo’s still 100% have their place, like here they have a TX on the back in bongo tied down. But those little red ties free up so much space; and if you manage your cables tightly they hold them close and they don’t move at all! Which is a plus for steadicam stuff.

>I recently bought a 77mm Black Satin 2 filter. I have several 77mm threaded lenses. I also have a 55-250 mm Canon lens, unfortunately the thread size for that is 77mm.

you probably have a typo somewhere in there, because there are no conflicting sizes.

If your 55-250mm is the Canon EF-S 55-250mm f/4-5.6 IS STM (only one with that focal range that came up in a quick google search really), rejoice: It has a 58mm filter thread, and you can just use a simple step-up ring like this one to fit your 77mm filter.

I don't see how any gimbal is optimised for a particular phone brand. Any gimbal maker than simply made their gimbals for one brand of phone wouldn't do well at all. The Zhiyun Smooth Q2, for example, works with all phones. The Zhiyun Smooth 4 is designed to work with FilMic Pro, an excellent app for film makers.

You don’t need this. Get a good set of BOTH metric and imperial allen keys , and a nice flathead screwdriver.

I would recommend the following three things 1: Cinematographer Style- The Complete Interviews, Vol. I and II by Jon Fauer ASC (Amazon link) https://www.amazon.com/Cinematographer-Style-Complete-Interviews-I/dp/0935578331/

it's 110 total interviews so you get a large breath of ideas and voices it focuses a lot more on the "artistic" side of things

2: For more "gear" and technical things I love the ASC manual. (The 10th edition is the latest version)

3: the hard thing with printed books on "gear" because it's changing so fast and often.( still great options out there) So while not a book I would recommend the ASC magazine for up to date technical information. (The magazine is mainly interviews with DPs about the latest movies coming out)

All of these things come from the ASC and for me I think are very good since they showcase a wide range of views and opinions. Also ASC is big on promoting their craft and getting new talent so the books are meant to be encouraging which is a plus.

There are tons of options available but these are my favorites.

Edit: fixed the link to be shorter. (Thanks u/TravisO !)

Just buy this rotating police beacon on Amazon. I recently bought and used 5 of these for a spaceship self destruct scene. They looked great!

This image was pulled from an hour long behind the scenes from Planet Earth II Episode 7! Theres a bunch more amazing setups they did.

$2.99 on Amazon https://www.amazon.com/Planet-Earth-II/dp/B01N35YDO6

I really like: “Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know”

Long name but lots of great visual references to about every aspect of filmmaking. It’s like a mini film school.

Amazon

The logos are the same, so I think so. I got a used one on ebay in mint condition for a little less than new.

On Amazon they list both names for this product. Then it says Visit the Meke Store, but also has listings under Meke and Meike with the same logo. Weird.

https://www.amazon.com/Meike-Manual-Rectangle-Fisheye-Cameras/dp/B01L8L7KO8

Check YouTube for reviews if you haven't already.

What light are you using? What camera are you using?

​

I noticed that you have a lot of white walls in the location what you can do is try aiming the fixture (light) towards the wall or aim it at the ceiling to spread the light out in the room.

Or you can booklight the Host face the shadow falloff you can see on the wall of 0:04 secs

​

I see the back cabinet at 3:16. Above the plant is that fluorescent light? I use these to add whispers of light back there. https://www.amazon.com/gp/product/B07KP241TY/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1

​

Now I am relooking at the background at 0:04 I think those are lights I would turn then on just to see what there would look like in-camera. Unless there fliker. If the lights are too bright I would grab some ND Gels or 1/2 grid to diffusion to sofen the bulbs.

Also, I don't know what your location looks like and also don't know what your budget is. I would try to have a second camera from a top down angle Like the one in your Youtube still for the video. It would add a lot of production value to your cooking show.

Overall I think you are doing well. Just reply with some questions and concerns. Hope I can help you out.

Well my position is that your lighting fixtures, gels, diffusion tools and rigging knowledge are your creative tools as a dp and a gaffer akin to paintbrushes and different kinds of paint without which there is no art or creativity happening.

But that aside this book is a staple of the industry and will serve you well

https://www.amazon.com/dp/0240810759/ref=cm_sw_r_cp_apa_i_X2wrFbF7ARJGJ

https://www.intellytechusa.com/products/mega-litecloth-3x4-5-foldable-led-mat-kit

https://www.amazon.ca/Falcon-RX-120TDX-ROLL-Flex-Light-3000K/dp/B07R28HXHL

I worked with the latter Falconeyes, had some nice design choices

The Neweer are very cheap, and make light. If you are just starting out, they are better than nothing at all.

You should also think about just using practical lights you already have, table or floor lamp.

There are some other options such as the Boling Vlogger https://www.amazon.com/ANDYCINE-Vlogger-2500K-8500K-Bi-Color-Battery/dp/B07PDBRL46

Those seem to be popular style, and also just make light. Nothing special.

​

If you want more punch, Fiilex. Aputure, and other more professional brands are available. Some of them have kits in your budget. Godox is often questioned around here but as its not used on professional sets, or popular for the youtube crowd, its hard to judge. You can search those brands for reviews.

Not at all! I got this one from amazon for 30 bucks for the film and it worked great. It's pretty damn "bright" as in, it covers a large area. Only thing you need to be cautious about is the refresh rate because they are LEDs. I was shooting 23.976@1/50th and it was imperceptible. If you shoot higher frame rates etc, just test beforehand to make sure it doesn't flicker.

I cut my teeth on this one in about 1976, that edition was packed with good info. I know its TV but it deals more with the process and the look than anything else, which transfers from TV to film production really well.

https://www.amazon.com/Television-Production-Handbook-Herbert-Zettl/dp/0495501883

Sight, Sound and Motion by Herbert Zettl gives a complete account of the aesthetic variables available to manipulate with motion pictures. If you are looking to identify and name basic features of composition, lighting, etc. it’s enlightening. Early editions are available cheaper than the current 7th edition: https://www.amazon.com/Sight-Sound-Motion-Aesthetics-Production/dp/1133307353.

I feel that the footage in this reel isn't synergistic. The shots that you chose don't necessarily demonstrate a specific style or excellence, and the music overlay is dissonant with the shots and editing style. Though this isn't a demo reel, notice how he included the sounds from the scenes themselves as well as the highly stylized and cinematic shots and the lengths between each cut. Here is a relevant example of a reel that successfully shows the capabilities of the cinematographer. First note now synergistic each shot is in the sequence. All are color graded well to accent different moods and environments, demonstrating his versatility as a DP. This reel also shows his ability to control/use light in creative ways. The music that he chose fit the mood of the reel and facilitated the experience rather than causing dissonance.

Overall I would say to work on improving the content of your reel before throwing out a demo reel. You are only as good as the weakest work you've produced (in the eyes of others), so be careful and good luck!

have found this... https://www.amazon.co.uk/Koolehaoda-Compatibility-Manfrotto-gitzo-Monopods-A2-Tripod/dp/B00OOC3LK6/ref=sr\_1\_4?crid=1O2FAVRB46IXH&keywords=monopod+stand+3%2F8&qid=1669980897&sprefix=monopod+stand+3%2F8%2Caps%2C42&sr=8-4

Amazon combines all the listings, but if you click for used options, the old versions are around $10:

https://www.amazon.com/Film-Art-Introduction-David-Bordwell/dp/0073386162

It's a very good primer because Bordwell and Thompson are focused on studying film form, which are basically the different techniques that are used in narrative storytelling to make a film that impacts viewers. It's heavily illustrated, which makes it very easy to understand the concepts.

did you end up finding anything? came across this post while I'm searching for the same thing and my best idea is adding these with these.

maybe some 90 degrees to 6" cross rails for a little added width too. (im setting my camera down in the woods a lot shooting rock climbing so the ground is always uneven).

Just scroll to the bottom of the AMAZON page and read the CUSTOMER REVIEWS because they give some useful tips for using the neopixel strips in their projects...

https://www.amazon.com/LOAMLIN-WS2812B-Individually-Addressable-Waterproof/dp/B095765ZCD/ref=asc\_df\_B095765ZCD/?tag=hyprod-20&linkCode=df0&hvadid=563646982923&hvpos=&hvnetw=g&hvrand=9522648332491354046&hvpone=&hvptwo=...

I love BTS shots! We couldn't afford to hire a bts photog, but luckily our 1st AC is also an extremely talented photographer!

These are shots from my first feature film, THE MURDER PODCAST, now available to rent on Amazon! This was a wild shoot. 14 days, 6 locations, and 101 pages! Our insanely talented DP was able to make the film look incredible despite the fast schedule.
I'm the director, but I do feel pretty confident that I can answer most of your questions; if not, I'll get the DP on here! Lighting package consisted of a couple of 1200w HMIs, 300d, 2 litemat 4s, litemat 2, and some Aputure MCs (which got used so much). I'm sure we had some other random instruments, but these were the main players.
Camera was the Ursa Mini G2 with custom Luts from our colorist. The lenses were an array of vintage and photography lenses (yay low budget), and the workhorse - Sigma 18-35.
If you've got any questions, ask away! And please check out the trailer!

for the budget

https://www.amazon.com/PROAIM-Heavy-Duty-Photographer-Videomaker-CST-100-01/dp/B086GVK2TV/ref=asc_df_B086GVK2TV/?tag=hyprod-20&linkCode=df0&hvadid=475811286124&hvpos=&hvnetw=g&hvrand=3098782126938842938&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9031556&hvtargid=pla-1093372982332&psc=1

These.

The only caveat is that the part where the power comes in and links to the little transformer board is REALLY weak. I would suggest folding the cord against the body and then permanently duct taping in place so it does not pull on that connection. I had to re-solder mine after the second use.

At some point, I intend to open it up and see what voltage the bulb takes to see if I can wire it to a rechargeable battery, but I haven't gotten there yet.

...but the lens/bulb part are solid and looked great on "film". I was going for a rock video look and used them to backlight hair, then ended up shooting into them a bunch because it looked awesome. They are light enough that I just duck taped them to stands using their attached brackets and they stayed no problem over a 4 hour shoot.

I think next video I do, I am going to buy more and just have them fanned out all over the place...

I’ve never actually seen this movie, but I remember press about the extra long lenses they used to shoot the bulk of Time Out Of Mind (2014). Here’s a breakdown of one of the scenes by the director. No mention of the lenses here but an example of the look.

Here’s an article that explores the cinematography in depth.

> Bukowski shot the film with one ARRI Alexa Plus 4:3 camera, which contains a 4:3 Super 35 sensor. For lenses, he employed two Hawk anamorphic zooms. The workhorse lens was a V-Series 300-900mm T4.0 and they also used a V-Plus Series 80-180mm T2.8.

I agree with childish casino. I’d recommend at least getting a 200x.

I might also recommend purchasing a silk, something like this:

https://www.amazon.ca/Neewer-Seamless-Diffusion-Photography-Lighting/dp/B06XSBDWXX/ref=mp_s_a_1_13?crid=14XJNF36V3FEZ&keywords=diffusion+sheet&qid=1664774202&qu=eyJxc2MiOiIzLjI5IiwicXNhIjoiMy4xNiIsInFzcCI6IjEuNDYifQ%3D%3D&sprefix=d...

You can hang it across a c-stand or clamp it to a few light stands shine your amaran right through the silk. This will allow you to create a very ‘large’ source of light, and craft very soft lighting for your subjects.

I’ve been able to create some great lighting

Professional gaffer here. Buy a cheap set of 650 watt tungsten fresnels, they are easier to learn on, have flood and spot, have barn doors and have 100% cri.

Like these https://www.amazon.com/CAME-TV-Fresnel-Tungsten-Continuous-Lights/dp/B07F7FGRS5/ref=mp_s_a_1_21?crid=1G6BM803MRI9R

I recommend sony, a6100 is a very good option at the quality-price. I use this camera and in my own experience I can say that it is very good.

Another option is the sony a6000, it's a little worse but it's ok.

And the most expensive but one of better quality is the sony a6600.

I think that added to a quality lens you would have a high quality team.

I recommend you to investigate these cameras.

Amazon Link

anyway, I recommend sony.

Sorry for my bad english.

Page 139-140 of the fourth edition Set Lighting Technicians Handbook.

Using diffusion makes the source larger relative to the subject.

We move lamps to control shadows all the time, at least in Atlanta. I'm sure in other parts of the world optical physics works differently.

I picked up this boom arm stand on Amazon for $100. It's decently made but I use lanterns and wouldn't put anything more than 10 pounds on this thing. As long as you have low-weight light sources it should be fine.

https://www.amazon.com/gp/product/B09S32WVWV/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1

This is the way. I use these in my studio for lights and as a camera mount with a baby pin to 1/4 - 20 adapter. Hereis the one I got. I liked these ones because they have a built in ring to attach the safety cable. ALWAYS SAFETY CABLE ANYTHING HANGING ABOVE ANYONE!!!!!!

LOL -

I light my house however my husband tells me it needs to be lit - which is warm white led bulbs from costco in many desk lamps.

My OFFICE is lit by a 24-inch paper lantern, with a 60w frosted incandescent.

I agree modifiers are a fantastic way to learn to control light of any kind.

If you want to dig in - https://www.amazon.com/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759

Step one, read Mr. Box.

Haha, well at least you know now, good thing I included that part!

I would recommend a variable ND and polarizer 2 in 1. It's not necessary but definitely helps when filming something with reflections or glare.

I would also recommend that you get a big enough filter that it can work on many lenses. Mine is 67mm which is great for what I need, but you're probably better off getting a bigger one with a few step up rings just incase.

This is the one I have.

Maybe not a spot on suggestion, but this book is amazing for understanding how to arrange different shots for different effects and moods, as well as sequencing

There's no need to feel this way. You where put in to the deep end without a certain amount of knowledge, it's great that you have reflected on your mistakes - now it's the time to educate yourself a lil more & step by step you'll get there.

Pick up a couple lighting books (link here). Watch some videos, practice the craft, shadow someone and you'll be on your way again.

It's all a learning curve, some have it easier and some harder. You've picked up the soft skills (charasmatic, charm ect) easily; there's no reason why you aren't able to do the same with cinema.

Here;s a youtuber i've learnt a lot from..

Dany Gervitz

Lamp socket/cord/bare bulb plug/ whatever you call them in your area.

Cube Taps! Buy 50, get 5 back at the end of the day.

These: https://www.amazon.com/dp/B0837LQ6X2?ref=nb_sb_ss_w_as-reorder-t1_ypp_rep_k0_1_9&amp=undefined&crid=2VRSGNQ34GCSW&sprefix=bulb%2Bsock&th=1

True. At this budget any thick diffusion would work fine. I used to use this with gvm lights

Your portfolio is fantastic by the way. I think many people here are giving answers expecting a far lower skill set. I’d highly recommend you look into the Storaro books and anything you can get your hands on with covering comprehensive photographic compositions like this: https://www.amazon.com/Photographic-Composition-Principles-Image-Design/dp/1937538567

Good luck on your hunt for knowledge!

Do you want a 2-way mirror like this?

Here you go:

Poyiccot 90 Degree HDMI 2.0 Male to Male Cable, 1.5Ft / 50cm Gold Plated High Speed HDMI Male Right Angle to Male Left Angle Cable 60Hz, 4K 2K (M/M Left-Right) https://www.amazon.com/dp/B07332ZBXV/ref=cm_sw_r_cp_api_i_R7BRMSK0G0Y3J1QYEV4W?_encoding=UTF8&psc=1

This one?

Perhaps a stack of cup coasters would do the trick? Easy to pack and place, then toss in a bag afterwards once they have gotten dirty. Or maybe even a stack of cork pot pads if the grand is particularly soft. Still easy to pack and covers a bit more surface area.

https://www.amazon.com/Ikea-Cork-Trivet-Heat-Pack/dp/B00QOLXPV0/ref=sr_1_5?crid=WBVHQ55RVKSR&keywords=cork+pot+pads&qid=1653429447&sprefix=cork+pot%2Caps%2C172&sr=8-5

I probably can't test all of this right now since I don't have an analog monitoring system set up.

https://www.amazon.com/dp/B087TGPW2B?psc=1&ref=ppx_yo2ov_dt_b_product_details

This is the adapter I'm using. I also have one from RCA to HDMI.

I'm actually outputting from my laptop which is going through an hdmi to av converter to my VCR, then the output is going to the input of my black intensity pro via this breakout cable https://www.amazon.com/Blackmagic-Design-Breakout-Cable-Intensity/dp/B001FAQRQ0.

I've heard that focal reducers work wonders in mostly eliminating the crop factor. They also have the added benefit of being speedboosters too, so they'd be great for low light conditions. There's fancy expensive ones from metabones, but I'll be getting a cheapo FD-to-m43 focal reducer.

Can't tell the specs from looking at it, especially with my uninformed brain behind the wheel, but it looks a mite similar to this:

BTN P28SC/ 750W / T7/ 120V/ CL 750-watt 120 Volt Medium Pre-Focus Based Stage and Studio T7 Bulb, Clear https://www.amazon.com/dp/B07H77CV82/ref=cm_sw_r_apan_i_6WZ7NX55WM6CQGRGAM6C?_encoding=UTF8&psc=1

Glad to help! Asking questions is best and really only way to learn this craft. Nothing beats hands-on learning and helpful hacks/tips from industry pros in all departments. It's first helpful to get an idea of what makes a good script. For screenwriting and understanding script story beats Save the Cat is the most popular by far (although everyone has to find their own voice). I can dig up more book suggestions but youtube film channels would probably be your best choice to see the principles in action. I can link some soon but I'm about to drive home. Be a student and consumer of all art forms and different cultures and ideas. Filmmaking is a colorful collaborative patchwork blanket stitching together pieces of things you like and find interesting or satisfying. Embrace "stealing" anything that catches your eye and remix it, understanding that absolutely nothing is completely original and is just synthesized from things that came before it, even subconsciously. As a creative exercise, it would be a great idea to recreate a scene shot-for-shot from a film or show you love, but just change names/places/props while keeping the same rhythm. Deconstructing/dissecting something that "works" and inspires you will help you understand how and why certain things work and get reused so often across films.

https://www.amazon.com/dp/B08QVGD9QW/ref=cm_sw_r_cp_api_i_1GRX73SV56XJGHWGYWGW?_encoding=UTF8&psc=1

This closes down to 110 mm, just put some gaff tape around the end of your lens for the extra 5mm and you should be fine.

I taught cinematography in universities for several years and my most recommended book by far was this one. It's cinematography-for-dummies basically but 80% of what I do on a "Hollywood" set is contained in this very accessible book. The rest is politics :)

https://www.amazon.ca/Bare-Bones-Camera-Course-Video/dp/1621535266

Bosch Laser Level Quigo with Clamp (3rd Generation, Range: 10 m, in Cardboard Box) https://www.amazon.co.uk/dp/B00DRDM1Q8/ref=cm_sw_r_awdo_JV4MQTAJECNS90Z0J80Z

This one for example. There's more expensive ones that project more than just a cross.

You can't go wrong with a clap board. Simple and the ultimate symbol of movie-making.

We’ve built an app for actors and filmmakers to easily find crew and make films together. If you want to check it out you can download it here for Android https://play.google.com/store/apps/details?id=com.app.filmshape

THANK YOU! The cheese plate literally solved everything.

Here is how I set it up and how it balances now.

I ended up buying this.

Something like a small cheese plate attached to the bottom of your camera would give you more mounting points and potentially allow you to position your camera slightly further forwards.

Iv posted a link below to a small one that should do the job. But just have a look on your local eBay or Amazon for "DSLR cheese plate" some options should come up

Here is one that could work - https://www.amazon.co.uk/dp/B09JGGCQQJ/ref=cm_sw_r_apan_glt_i_16XM6MFFVHZ9D6EQW83X

I've been very happy with my carbon fiber E-image with GH06: https://www.amazon.com/Ikan-EG06C2-Stage-Carbon-Tripod/dp/B013TPFPH0/ Very smooth, great counterbalance options, fast adjustments, lightweight. It's been perfect for my setups, even when weighed down with a teleprompter and audio.

90% of the features of the Sachtler at <50% of the price. They have a GH10 if you need to go up to 22lbs. and they have 100mm models if you need to go up to 50lbs. That's just the head, the legs hold way more if you wanted to use with a jib.

I'm going to answer this question from a US/America point, if you are in Europe, numbers and parts availability will be different.

Get yourself a 1000W, 120 Volt AC 60Hz, Single-Pole, Rotary dimmer. Wire it up with a male and female edison hubble. Its not hard, there are plenty of schematics online to help with that part.

The problem, is that 1000w dimmers were difficult to find on a normal day, but now with material shortages, good luck. You CAN find 600w dimmers, it just limits the size of lamp you can run safely. The 600w dimmer will handle any type of normal household bulb lamp, or tungsten fixture up to 600w.

They DO make rotary LED dimmers, but they are expensive. You can also just buy "Dimming LED" bulbs if you are going that route, but since they are also expensive, just get regular incandescent bulbs and be done with it.

You are looking for something similar to this: https://www.amazon.com/GE-18021-Dimmer-Rotate-Almond/dp/B002DN2PGY/ref=sr_1_4?crid=1GPA4BD6TTN57&amp;keywords=1000W%2C+120+Volt+AC+60Hz%2C+Single-Pole%2C+dimmer&amp;qid=1645091559&amp;sprefix=1000w%2C+120+volt+ac+60hz%2C+single-pole%2C+dimmer%2Cap...

The above link is 600w.

If you do not wish to build your own, you will have to find a friend.

There are single and multi channel dimmers available from many film specific companies, but they are much more expensive.

I have 4 of this brand from 98 to 300Wh: https://www.amazon.com/6600mAh-Compatible-Camcorder-Broadcast-Replacement/dp/B07TQM6T22

I've used them with 3 different cameras via a battery plate, my audio recorder via hirose cable and 3 different LEDs directly, no issues.

The price is hard to beat. As long as you get a decent brand, all these batteries are using the same grade A 18650 cells. No reason to pay twice as much for no reason. If you're powering 1200w LEDs, then I would splurge for better batteries, like Gen Energy 22 amps.

I don’t own that gimbal, but I work primarily on features & television production and the typically approach for transporting a camera after having completed the build is to use what we call a “camera coffin”.

It’s essentially a big tub that we fill with foam padding or sound blankets and the built camera comes off it’s support and lives in the coffin for the duration of the project.

This doesn’t need to be fancy - usually an appropriately sized Rubbermaid tub from a big box home store will get it done.

I really like the Action Packer series in particular for being extremely rugged and having well designed lids that latch securely. The action packers are a bit more expensive, but certainly cheaper than a pelican case sized for the same idea.

Just need to take some measurements and figure out the size you need to leave everything built and then get creative with padding so it won’t flip around during transit.

I found it from Amazon for like $90 on sale back in November!

Here's the link if you're interested: https://www.amazon.com/Aperture-Manual-Mount-Mirrorless-Cameras/dp/B07CV9ZMZG

Honestly, for the price, it's a really fun and nifty lens! I plan to do a video review about it it since I mainly work on video and cinematography. If you're interested and can wait for another sale, I'll share some sample pictures and videos if you're interested. I couldn't find a lot of helpful videos online, especially of this lens being used for cinematography.

Thank you for the reply!

I have the BMCC with speedbooster and have a set of Zeiss ZF lenses.

I have the 21mm f/2.8, 35 f/2, 50 f/1.4, and 85mm f/1.4

the only one I don't love is the 50 1.4, the 50 f/2 is much sharper.

I like these lenses because I have been able to put them on lots of different cameras (5D, C300, FS700, Red Epic) without needing electronic adapters to control iris. the benefit is that when you get rid of your bmcc for newer cameras, your lenses will still work great and be able to fit on basically any camera.

here is my reel that is mostly BMCC and a little 5D and all Zeiss ZF lenses https://vimeo.com/84903666

As promised, here is the finished version of the video. I also recently just posted it to r/cinematography and asked for critiquing here.

The GH2 is incredible.The hacks make it even better! Upstream Color, the feature film, was shot entirely on the GH2. Check out this trailer that was shot with a 44Mbps hack. It looks beautiful. The hacks can push the Mbps up to 100+ for a very detailed and sharp image. https://vimeo.com/33025136

x:post from BMMC sub. I had an issue where my Z-finder would only show the top left corner of the frame when connected to my 4k Blackmagic production camera. It didn't matter the system setup or fps- it was the same results no matter what. I googled the issue and saw one other person with a similar situation. I called Zacuto and a week later they sent me the firmware update. Unfortanately, that was a week late for the outdoor shoots I needed the Z-finder for. So, in an effort to save anyone else the trouble, I have provided the firmware update for anyone who might need it!

https://drive.google.com/file/d/0B3OcTADlo-iETFQxYm9vekJRRlU/edit?usp=sharing

Enjoy! :)

if it's comedy, don't worry much as long as we can see you and your expressions.

if it's drama or or commercial or you need more flattering light, don't worry about pointing a light at the gray wall as much, and think about diffusing or bouncing the LEDs

Personally I feel these lights are way too harsh when pointed directly at the subject. They have those little inserts that barely do anything, so I either bounce them on a foam board or the walls/ceiling or put them through a sheet or a diffusion box of some sort, like this

https://www.amazon.com/gp/product/B01JKBVWHO/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&amp;th=1

even with the above I still found myself having to put a thin piece of diffusion inside the box to make the light more flattering.

maybe point that back one up to the ceiling to bounce some hair light down to give you some shape.

Bouncing/diffusing will sacrifice some of the light and you'll have to turn up the ISO in the camera to compensate but it's fine because a little bit of grain won't break an audition, but the more flattering light may be a huge help, and also get you to act more natural and less 'deer-in-headlights'

Colorist here.

See my above comment. I have literally never had a director not sit in a grade or at least be involved in some way. The vast majority of my grades do not have the DP in my suite.

Still moving is new channel who is doing really amazing work . Team Deakins is producing a podcast . Where roger Deakins with his wife and guest talk about different topics .

Thanks for the reassurance! I'm just slightly worried as with all products there are bad and good reviews but with this you only know it's bad or not when your camera is on the ground in pieces haha.

I'll link the product I bought here. Some people were saying that the screw completely snapped off and left the thread stuck inside their camera so was just a bit worried since most of them are only using light weight photography cameras. The reviews can be seen on Amazon but I bought them on eBay. Exactly the same brand and product though.

https://www.amazon.co.uk/Install-Camera-Tripod-Attach-Straps/dp/B01KF2TWAQ/ref=pd_aw_sbs_1/262-8573074-9895536?pd_rd_w=e6O7O&amp;pf_rd_p=e5c7edeb-602b-4a96-8c6e-bace47e3f44f&amp;pf_rd_r=960ZYGFPEX24Q43JH4QE&amp;pd_rd_r=5b0ae621-8d8b-4d67-883d-c34e...

https://www.ebay.co.uk/itm/Quick-Install-Camera-Tripod-Mount-Screw-to-Attach-Neck-or-Wrist-Straps-4-Pack-/183016402723?mkcid=16&amp;mkevt=1&amp;_trksid=p2349624.m46890.l6249&amp;mkrid=710-127635-2958-0